Roleplaying Tips Weekly E-Zine Issue #272

A Simple Method For Campaign Creation: Managing Complex

Systems Over Time In A Campaign World

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SENT BY SUBSCRIPTION ONLY With Compliments

From: Johnn Four, http://www.roleplayingtips.com
johnn@roleplayingtips.com
Edited By: Scot Newbury
editor@roleplayingtips.com

CONTENTS:
--> A Brief Word From Johnn

--> This Week's Tips:

1. The Method
2. On A Tribe Or Village-Wide Scale
3. On A Dungeon-Wide Scale
4. On A City-Wide Scale
5. On An Inter-City Scale
6. On A Kingdom-Wide Scale
7. On A World-Wide Scale

--> Readers' Tips Of The Week:

1. Poker Game Encounter Idea
From: James Seals, Somerset in England
2. Adventure Design Method
From: Midellin
3. Use Game Boards For Quick Battlematts
From: Jen Delaney

--> Subscribe/Unsubscribe/Submissions Information

Do you know a GM that doesn't subscribe? Please send them a

copy of the e-zine or suggest they drop by the site. Thanks!
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A BRIEF WORD FROM JOHNN

Expeditious Retreat Press Monster Tips Contest Is Over

------------------------------------------------------
Thanks to everyone who entered the contest. Winners will be
randomly selected and contacted later this week.

10,000 Random Magical Effects - Revised

---------------------------------------
Orrex has revised his excellent 10,000 random magical
effects tables, which are perfect for magic item generation,
wild spell effects, encounter and adventure design, rules
design, and more. Thanks Orrex!

Download the zipped PDF here (596 KB):

http://roleplayingtips.mythosa.net/downloads/random_magic.zip
Is anyone trying to play RPGs outside in the sun these days?

Cheers,

Johnn Four
johnn@roleplayingtips.com

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d20: Advanced GM's Guide

The newest in Green Ronin's Advanced Rulebooks for the d20

System, the AGMG is the essential supplement for all
Gamemasters. This book offers new tips, tricks, and options
for GMs to improve their d20 games.

http://roleplayingtips.rpgshop.com/product_info.php?products_id=37070

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A SIMPLE METHOD FOR CAMPAIGN CREATION: MANAGING COMPLEX

SYSTEMS OVER TIME IN A CAMPAIGN WORLD

By David Younce

In this article, I outline a simple, powerful technique

for "filling in the gaps" and managing the complex systems
of your campaign world. The goals of using this technique
are to:

1. Add detail and depth to your campaign world

2. Make your campaign world a living, breathing, changing
place
3. Generate easy, interesting plot hooks on any scale
4. Make the PCs feel like their actions affect the world
around them
5. Quickly determine a current state of affairs in a given
complex system
6. Quickly generate histories, legends, politics, economies,
and opportunities for adventure!

So, if those sound like things you'd like to do with your

campaign, keep reading! Although my focus and examples are
from a "standard" d20 System fantasy RPG setting, there's no
reason the ideas here won't work for any setting or RPG
system. For the purposes of this article, a "complex system"
is the ongoing interaction of two or more individuals or
groups ("actors") where each actor has its own specialized
goals and motivations.

1. The Method
============================================================
At any level of detail, city, village, or dungeon, the steps
of setting up and maintaining a complex system are the same:
1) Map out the main actors and have some idea of their goals
2) Determine the attitudes of the actors toward each other
3) Determine how things are going (or have gone) for each of
the actors currently or over time
4) Translate what you have learned about the system back
into storytelling terms

Random determinations for system management are made with

d100 rolls, where 50 is considered a median, and things are
relatively better or worse depending on how far from that
median the result is. 100 means things are great, 01 means
things are at their absolute worst.

For most of the complex systems in your campaign, you

probably have some idea already of the main actors involved.
You might have a large swamp in with tribes of bugbears,
lizardfolk, orcs, goblins, human cultists, and so on. You
might have a kingdom surrounded by two or three other
kingdoms and nothing but an alignment written down for each.
You might have determined what deities are worshipped in
your campaign world, in which case you probably have a good
idea of what temples are active in your largest city.

Step 1
------
Take a blank sheet of paper and write the name of an actor
and draw a circle around the name. For each actor in the
system, do the same until you have a sheet with a bunch of
more-or-less evenly distributed circles on it. If the actors
are arranged geographically (as between nations or humanoid
tribes in a dungeon) try to have a semblance of that
geography reflected in the way you've drawn your actors on
the paper, since actors most often have a relationship with
actors nearest to them.

Step 2
------
With actors drawn, pencil a line between two actors where
you want to establish a relationship. You need not draw a
line between every actor, especially in a system with many
actors.

Next, roll d100 for each relationship line and write the
resulting number down. If the two actors are of differing
alignments, I usually apply a negative modifier to the roll
to reflect the distance in their world views.

The resulting die roll will represent how the two actors
feel about each other. If you can, think of a reason they
might feel that way toward each other. Note that things may
come into more focus after you see how each actor is doing
in the next step.

Tip: Once I have established the nature of a relationship, I

often use crayons or colored pencils to color-code it so
that I can quickly see what's going on when I refer back to
the page.
Step 3
------
When you have your actors and their relationships assigned,
make d100 rolls for each actor to see how things have been
going for them lately.

01-49 is bad to okay

50-100 is okay to good

In dynamic systems you track over time (such as cities,

economies, and nations) you will make this roll periodically
and adjust the relationships accordingly. Write the number
inside the circle you drew for the actor.

Step 4
------
As you go (or at the end, if you prefer) try to think of a
reason things have been going well or going poorly for the
actor. Revisit the relationship numbers and refine the
nature and reasons for the relationship based on what you
now know about the actors and their relative fortunes.

As we look at each level of scale in the tips below, I offer

a few suggestions for translating good and bad rolls back
into story terms. As you determine a story or event
connected with your actors and their relationships, jot a
quick note down about it on the paper beside the actors or
their relationship. Then, when you have time, write a more
detailed version in your notes to refer to in-game or as you
craft adventures.

If you're uncomfortable with a graphic representation, you

can do the same thing in a spreadsheet, making a simple
matrix where every actor has its own row and column. Input
the results of your rolls or relationship values you assign
into the intersection of two actors, and use cell comments
to make your notes about the relationship. This will work
fine, and there are some additional things you can do with
the data in a spreadsheet, such as charting relationships
over time to show changes in the balance of power. However,
since I am used to drawing them out on paper or using
graphical computer tools such as Visio or MindManager for my
charts, my examples will reflect the graphical way of
handling system management.

2. On A Tribe Or Village-Wide Scale

============================================================
Okay, so your players parleyed with the lizardfolk tribe you
expected them to battle and have decided to spend the night
in the lizardfolk village. Now, suddenly, you need to know
what kinds of things are going on in the village and whether
there's any adventure to be had there. So, you tell people
it's time for a quick break and play will reconvene in five
minutes. While your players break, you take out a blank
piece of paper and write down all the major actors in the
tribe. In this case, we'll say you have the Chieftain, a
Shaman, another Druid, the biggest Warrior, and the PCs. In
a relatively small system like this, you can draw a
relationship line between every actor and every other actor.

Now it's time to determine the attitudes between the actors

in your tribe-wide system. Assign numbers for anything
you've already established.

In our example, I'd call the Chieftain-PC dynamic at least a

70 because combat was avoided and he is having them stay the
night. For other relationships, roll a d100 for each
possible relationship in the tribe and write the result on
the relationship line you've drawn.

You've already played the Chieftain as a bit of a coward, so

you decide to apply a -10 modifier to relationship rolls
involving him since he's likely to be overthrown soon.

You don't establish the PCs' attitudes, but you can

establish how the other actors will feel about them.

A few d100 rolls later, we have the following relationships:

Chieftain-Shaman: 3
Chieftain-Druid: 58
Chieftain-Warrior: 16
Chieftain-PCs: 70 (assigned)
Shaman-Druid: 82
Shaman-Warrior: 73
Shaman-PCs: 21
Druid-Warrior: 83
Druid-PCs: 23
Warrior-PCs: 56

Now, establish how well each actor (except the PCs) has been
doing over the last little while:

Chief: 12
Shaman: 27
Druid: 19
Warrior: 20

With these numbers in front of you, come up with a quick

picture of the tribe's politics. Here's what I first thought
of, based on the above numbers:

It looks like the Chieftain's tenure really is about to end,

and I would peg the Shaman as his replacement. There is
strong enmity between them, each blaming the other for the
tribe's situation (the 3 roll). The other Druid tenuously
supports the Chieftain but is good friends with the Shaman.
I interpret this to mean that the other Druid is the
Chieftain's brother and, while he recognizes the leadership
has been poor, would rather see the Chieftain driven out
than killed (which is what the Shaman clearly wants).

Since every actor rolled low on the current status roll, I'm
going to say food has been extremely scarce, and the whole
tribe has been suffering. The Chieftain knows the jig is up
and has invited the party back to camp in the hopes that
they will defend him if things turn sour (he may even throw
himself at their feet and beg them to do so).

The Shaman, Druid, and Warrior seem to like each other

pretty well, and none of them likes the fact that the PCs
have come to visit, except the Warrior, and even he is
pretty indifferent. It looks like the Shaman and the Druid
are going to use the opportunity of the PCs' visit not just
to depose the Chieftain but also to establish themselves as
the saviors of the tribe by cooking the PCs for dinner! If
the PCs figure the situation out, they might be able to save
their skins by allying with the Shaman against the Chieftain
and by sharing whatever provisions they have to build up
trust with the Shaman. Now we have a pretty exciting evening
laid out back at the lizardfolk camp, whereas five minutes
ago it looked like they might just roast marshmallows
together!

3. On A Dungeon-Wide Scale
============================================================
Most dungeons contain several types of monsters, including
some with intelligence, living in close proximity to each
other. Over time, it is natural that alliances, trade,
enmity, war, servitude, and other relationships will develop
between the groups in your dungeon.

Lawful Evil creatures tend to organize themselves and often

seek control of the groups around them through subversive
and subtle means. Chaotic Evil creatures are more likely to
seek control of an area by conquering surrounding groups and
using the survivors as food or slaves. On the other hand,
most intelligent creatures understand that a mutually
beneficial (though perhaps tenuous) relationship can be
established with neighboring groups so that each group can
pursue its own goals without losing too many of its number
in unnecessary bloodshed. When a party of PCs arrives on the
scene, a well developed dungeon system will already be
behaving in a realistic way. You won't accidentally have a
unicorn in the next room over from a brutal tribe of
bugbears without any explanation as to why.

As you map out your actors on paper at a dungeon-wide level,

do it in a manner that represents the way the groups are
geographically arranged in the dungeon, and only draw
relationship lines between groups likely to interact.

Favorable relationships between groups can mean they are

allied against a common foe, trade with each other, simply
allow passage through each others areas, or one group may
secretly or openly control the other group.

Unfavorable relationships mean tension, raids, war, a

predator-prey relationship, and so on. When your players
start noticing the politics of your dungeon, a clever group
of PCs will begin to play one group off of another or make
temporary alliances with a group of monsters against their
neighboring enemies.

When you roll for how things have been going for a monster
group in a dungeon, you start to see who the power players
are. Doing well on this roll means the actor is getting what
it wants. So, what does that tribe of bugbears want? Food?
If you roll that they are doing well, but they are
surrounded by enemies, that means their raids for food are
successful. If they have allies, it might mean the bugbears
get all the food they need in tribute from the groveling
goblins next door.

Do you have a group of drow slavers that is doing well? That

probably means that they are both getting a steady supply of
slaves from somewhere and that they are finding a way to
export and sell their slaves without much trouble. If things
are going poorly for the slavers, they have been unable to
capture slaves, the slaves they were exporting were stolen
by another group, they lost one of their best fighters in a
recent slave raid, they can't find a market for their
slaves, other groups have started to band together against
them, or whatever else you can think of.

4. On A City-Wide Scale
============================================================
This is my favorite level of detail to deal with, and I hope
I can show you why. Since cities are often a base for PCs to
return to between adventures, they are also one of the
primary places the PCs look for new adventures. There are
usually a number of important groups or people in the city,
all of whom have resources, motives, allies, and enemies.

PCs interact with NPCs on a regular basis in your cities,

which means it is easy for your barkeep to make small talk
about the cleric charged with murder or the city councilman
sentenced to hang tomorrow for corruption. Also, since in
many campaigns players return to the same city time and
again, it is the first level of detail for which I make
rolls over time to determine how fortunes are changing
between the factions (I re-roll how each faction is doing
about once per season and make changes to the relationships
according to the reasons I make up for changes in fortune).
So, while your players are out of town in the dungeon,
things can (and should!) still happen back in town without
their immediate knowledge.

It is easy to get PCs involved in the interaction of your

groups in the city. NPCs naturally gossip about what they've
heard. Gather Information rolls at a bar have never been so
easy to deal with when you already know what's going on in
town. If a PC is connected to a group, he may be called in
to help or investigate when things are going poorly, or he
might share in the benefits when things go well. If the PCs
have been engaged in an adventure involving a group, I
either tie the results of that adventure into my explanation
or apply a modifier to the group's rolls because of it.

Factions in a city include all your major temples, druidic

orders, powerful guilds, important bad-guy groups such as
cults or thieves guilds, individual persons of prominence
such as the mayor or duke, important institutions such as
arcane colleges, and so on. Good-aligned institutions can
still dislike, compete, or even raid and kill each other if
their goals are different. (History is rife with examples.
Most religious conflicts can be seen in this light).

When evil institutions and good institutions have a strong

relationship, I often take that to mean the villains are
secretly controlling the good institution or that the good
institution is filtering arms or other aid to the villain
group to allow it to attack enemies of higher priority.
Imagine the look on your players' faces when they figure out
that the holy water they found on the dead bandits was
supplied by a faction within the temple of the god of life
so the bandits could fight the undead cult in the sewers!

Some examples of good things that can happen to actors on a

city-wide scale are:

* New members joining because of a popular leader

* Newfound political power (I usually relate this to waning
fortunes of rival groups)
* Successful operations against enemies
* Profitable business ventures
* New pacts of alliance
* Important treasure/magical item obtained
* Land, title, or honor granted to the group or its leaders
from the powers that be

Some examples of the bad things happening to your city-scale

actors might include:

* A leader killed/arrested/indicted/captured for a crime

* Membership waning due to a boring leader
* Important treasure/magical item lost
* Failed operations against enemies
* Victim of raid/attack by enemies/bandits/humanoid tribes
* "Secret infiltration" by another group, political
influence lost
* Alliances turned sour
* Business ventures failing
* Public opinion of the group waning because
hypocrisy/corruption revealed
* Title/land/privileges revoked
* A fire or other calamity at the group's headquarters

Mike Mearls' book, Cityworks, contains great additional

ideas of how to handle factional interplay in your cities.

5. On An Inter-City Scale
============================================================
Simulated economies are a level of detail that many GMs feel
no need for, and that's just fine. On the other hand, if you
know the wheat harvest has been poor this year in Crafton
but the fishermen in Bayport are having a record year, it
can give you new ideas for adventure. Perhaps the bad
harvest is because a strange disease introduced by a twisted
druid has been killing all the wheat. Perhaps the fish are
all coming to the surface because they fear the kraken that
has awakened in the deep. If you can come up with stuff like
that on your own, go ahead. But I can't, so I use this
system to help me see what's happening with the economies of
my settlements.

Instead of mapping out each city as an actor (though you can

do it that way too), I list the major industries of a
settlement separately within a larger circle. The
relationship lines now become directional arrows, and
represent the flow of goods between cities. Then I make the
random rolls as for any other scale. If I see that the
industry is doing well at its origin but that it's having
trouble getting to one of the other settlements, it might
indicate bandit activity or something of the like. If the
industry is doing poorly but trade is good, it might mean
that prices have risen due to great demand from the consumer
settlement, but the producers are having some problem that
prevents them from being able to fill the need.

All this can lead to a sense of reality and to plot hooks

for your adventurers. If they've become friends with a
certain farmer, he can now tell why things are going poorly
for his farm, and why he needs their help. You'll have a
better idea of what caravans between cities might be
carrying. Once you've determined the foodstuffs that a
settlement has access to, you can describe signature dishes
found only in that city's taverns. Knowing what is happening
to the farmers, merchants, and artisans in your cities helps
establish a sense of place, making one town easily
distinguishable from another to your players.

6. On A Kingdom-Wide Scale
============================================================
I don't always feel the need to deal with things at this
scale, but in a realm where nobles or other contingents are
competing for power and resources, it makes sense to do so.
If your players are interested in a campaign with political
intrigue, rolling at this level is a must. When the King is
starting to get old and no heir has been born, it's
definitely time to map out your actors and get to work
figuring out who is allied with who against whom.

Good things happening at this level are endorsements by

churches or other nobles, raising powerful armies,
discovering or taking advantage of natural resources to
build wealth, making your enemies look foolish at court, and
so on.

Bad things are a death in the family, secret alliances

exposed, recruiting troubles, being charged with treason, or
advances made by one's rivals.

7. On A World-Wide Scale
============================================================
For a more complicated, but more detailed way of tracking
multiple realms, I recommend the Countrycraft article by Ray
Winninger in Dragon Magazine 293. For a quick-and-dirty look
at your upcoming intercontinental conflict, just map out
your actors, establish whether they're trading, fighting, or
scheming together, and roll to see who's weak, who's strong,
and who's going to take advantage of the situation.

When you want to write the history of your world and you're
stuck for ideas, start at some time in the distant past,
make up a few empires, roll to see how they do year to year
and who gets along with whom, and pretty soon you'll have an
outline for how your ancient empire of elves became the
scattered remnant they are today after the meteor smashed
into their main city and the neighboring humans took
advantage of the situation to rush in and attack!

* * *

Hopefully, the system presented here will help you

realistically and quickly deal with the many complex systems
a good campaign contains. To quote the seventh rule of
Dungeoncraft from Mr. Winninger's Countrycraft article:
"Running a good campaign is about building a world, not
building a story." When you make your world as alive as you
can, the stories will flow naturally.

I'd be interested in any feedback you have from using the

system in your own campaign. My email address is dave.younce
(at) gmail.com. Special thanks to Jeff, Rich, and Johnn for
feedback as I was writing this.

[Johnn: For those interested in seeing some examples of how

this looks we've posted the following:
http://roleplayingtips.mythosa.net/downloads/complexsystems_dungeonsystem.jpg
http://roleplayingtips.mythosa.net/downloads/complexsystems_briarton.jpg

For those interested in Mike Mearls' book, Cityworks, you

can pick up a discounted copy here:
http://roleplayingtips.rpgshop.com/product_info.php?products_id=32975 ]

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Forgotten Realms: City Of Splendors - Waterdeep HC

City of Splendors: Waterdeep offers an in-depth examination

of the great city of Waterdeep. An overview of the city
includes history, a who's who, information on laws, and
rules for running and playing in a Waterdhavian campaign.
Information on the people of Waterdeep covers non-player
characters, arcane schools, armed forces, guilds, nobility,
prestige classes specific to the city, and more. Also
included in the book are discussions of specific Waterdeep
locales, adventure locales, and new monsters. An extensive
appendix gives information on new equipment, magic items,
psionic powers, poisons, spells, and more.

http://roleplayingtips.rpgshop.com/product_info.php?products_id=37068

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READERS' TIPS OF THE WEEK

1. Poker Game Encounter Idea

From: James Seals, Somerset in England
============================================================
Johnn,

I read in one of the articles from my recently purchased GM

Tips Encyclopedia an idea for a campaign start that I'm
going to use. The characters begin on a boat in a
poker game. Using real cards, we'll play out the game with
me in control of an NPC Sorcerer who is cheating.

I love this idea. It's giving me loads of inspiration for a

recurring NPC, and I'm definitely going to use it. However,
I'm not quite sure how to stack a deck of cards! Do you
know? :o)

Thanks for your help, and the tips you send each week.

[Johnn: Sounds like a fun encounter you've got planned,

James. Here's one idea, and maybe Tips readers will send in
more... A GM screen is required. Go to your nearby "dollar
store" and purchase two decks of cards with the same design
and colour on the back. Use one deck with the players and
play poker like you normally would. Play your hand behind
your screen. Keep the second, identical deck behind your
screen, pre-sorted by card type (i.e. Aces in a pile, Kings
in a pile, and so on). Substitute cards into your hand from
the second deck as needed.

There will come a time when two of the same card are in
play--an instant sign of cheating. However, the characters
won't know _who_ is cheating. This is a great opportunity
for Sense Motive or skill checks, and to increase the drama.

Also, you might rule that a successful gambling or sleight-

of-hand type skill check on behalf of the NPC lets him
substitute a new card for the offending card. This simulates
his cheating ability. Just take one of the duplicate cards
in play and substitute another one. The players will know
the NPC is cheating for sure now, but their characters
won't. A great source of player irony!]

2. Adventure Design Method

From: Midellin
============================================================
Johnn,

This is a hard one for me to give advice on, but maybe if I

explain how I run my campaigns others will be able to get
some good from it.

1) I divide the information I am going to need into the

following categories.

a. Maps
b. NPCs
c. Monsters
d. Treasures
e. Storyline / Plot hooks
f. Character backgrounds to be used later (usually gathered
in-game)

2) I then sit down and create a whole bunch of maps, either

from my own imagination or utilizing one of the many
wonderful utilities out there. I spend anywhere from 1-4
hours on this. I start with the world map, and then work my
way down to the dungeons and house/castle maps. Using the
utilities available saves a lot of time.

3) I then work out a whole bunch of NPCs in advance. This I

generally do using utilities. I don't find this as much fun
as map-making, and so I don't spend much time on it.
However, I do allow the NPCs to be randomly placed
throughout the world at any given time (so that, as the PCs
travel so do the NPCs, and they may run into someone at
different places).

4) Monsters & treasures / rewards. I have a deck of

encounters, and all of them can be modified for any
situation/level. I usually have a few beasts ready for the
game, and a few that are pre-rolled. The rest, if the party
is feeling adventurous, I roll up at the table.

5) Storyline and plot hook. I generally start the

adventure with a simple storyline of something
that would peak their interest and make them want to find
out more. From there, I allow their actions/backgrounds
to develop the other plot hooks so that they feel
their characters are affecting the world.

I will also have reputations/rumors follow them around,

especially if they have run into a few NPCs in different
towns: most NPCs are gonna tell the tale of these
noble/evil/inept adventurers (some may even decide to put
themselves in the hero's part).

I let the PCs have a bunch of little quests until they

become semi-powerful, then their reputation is established
and they can get hired/prophesized/volunteered into
challenging situations.

So basically, I fly by the seat of my pants, with everything

I could possibly need at my fingertips. I spent too many
years playing with PCs that would run off after the faintest
hint of a strange rumor, and of course they were running
into areas that I hadn't prepared. To combat this, I have
developed a style that is heavy on storytelling/NPC
RolePlaying, and light on prep time.

I make sure that I always have dungeon/village/NPC/monster/

treasure/random encounters ready for whatever the PCs decide
to do, and usually they wonder how I can manage to always be
ready for everything that they do (I play with a sadistic
bunch that loves to harass the DM by not going along with
the story).

I haven't shared my secret yet, as it has given me near god-

like status amongst my fellow gamers. (They once spent 8
hours of game time teleporting around, trying to get me to
not have something ready, but when you've got base figures
for tons and tons of locations, all you gotta do is pull it
out, give it a name, and grab some NPCs to live there.)

Anyway, those are my tips. I know they are long-winded, and

they kinda ramble. Thanks for taking the time to build a
wonderful site. I have enjoyed reading your tips immensely,
and hope that some of my ideas may be able to help others
too.

3. Use Game Boards For Quick Battlematts

From: Jen Delaney
============================================================
If you're broke, cheap, or just need something on the fly
for miniature combat and don't have a hex map, improvise
with either a chess/checkerboard or (what we use) a scrabble
board. Even a Stratego board can do.

If you have transparencies, you can lay them over the board
to draw terrain or walls, or use game pieces (pawns,
checkers, tiles, etc.) to develop boundaries and enemies.
We've used extra dice and pencils to improvise walls and
hills, desks, corpses (a giant's corpse can make useful
cover...).

It may not be pretty or 'authentic', but it works in a

pinch.

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Dungeon Master's Guide II

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Chapters include discussion on running a game, designing

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That's it for this week's issue.

Have more fun at every game!

Johnn Four

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